Set on a South Pacific island during World War II and Nellie Forbush (played by the talented Gina Beck) a beautiful naive 20 something, American Navy nurse, from small town Little Rock, Arkansas, has fallen in love with middle-aged French plantation owner, Emile de Becque (Julian Ovenden)
The story unfolds around their relationship and Nellie appraising her fellow nurses of the man in her life switching from ‘I’m gonna wash that man right outa my hair’ to ‘I’m in love with a wonderful guy’. It was impossible to pick a favourite actor from these show pieces as the group scenes were all superb.
The male contingent the Seabees rendition of ‘There is nothing like a dame’ was everything it should be and more, with tightly choreographed dancing and movement.
The revolving stage set added to the beautiful ‘chaos’ of many of the scenes in contrast to the romantic and serious ones which required no distractions.
Stand out superb next to Nellie and Emile was sassy smart ‘businesswoman’ Bloody Mary (the brilliant Joanna Ampil).
The caustic and inappropriate language she uses with the Seabees to gain their business, contrasted with the warmth of her singing ‘Bali Hai’ (which put me in the mind of a young Yvonne Elliman) and her desperation to make a better life for her beautiful but young daughter in America by marrying her off to the handsome American, Lt. Cable, even offering to send money for her upkeep.
The amazing orchestration and orchestra (as usual at times of perfection) was hidden in plain sight because it was so brilliantly played you barely notice it, it just becomes part of the whole production.
An initial Broadway hit this was beautifully produced and for me very much how the film version was, and it made me pine for my childhood having watched it and listened to the LP soundtrack with my Mum many years ago.
There is a lot more of this story to tell and of course today Nellie and Cable will be labelled bigots but they have grown up (as many of us do) with the views of their parents and local society. Indeed they have been ‘carefully taught’ what they should and shouldn’t think.
Call me a cock-eyed optimist but I do think people can change it’s just a matter of being more aware and less scared of diversity and of course whether they want to or not, and maybe that’s what Rogers & Hammerstein were trying to get at.
The run of South Pacific at the Opera House will last until 23 July 2022 then moves to London.
